Out of the Cocoon: An Analysis of the select
poems of Meena Kandasamy.
India has a rich
poetic history. Great epics like Ramayana and Mahabharata are in poetic form.
Most of the early works were devotional and were steeped in religion. These
great works were written in Sanskrit and in classical Indian languages. The
genesis of Indian poetry in English can be traced back to the arrival of the
East India Company on the Indian soil. It emerged as a separate genre only
after the Second World War. Early poems were imitative and were over loaded with
western ideals. Poets like Nissim Ezekiel and Sarojini Naidu have created a
space for Indian poetry in the world literary arena. Toru Dutt, Henry Derozio,
Tajore, A.K.Ramanujan and R.Parthasarathy are some of the prominent poets. Through
their efforts Indian poetry gradually became more Indianised. Early poems which
dealt with the themes of personal and family issues gave way to poems that
addressed social issues and thereby cleared the way for experimental poetry.
Poets began to venture into new dimensions in poetry and this helped them shed
all sorts of western influence.
Indian poetry
has now become vast, rich and culturally sensitive. It has become Indian to the
core and expresses the collective consciousness of India. It reflects our
cultural and communal heritage and our age-old traditions. Our glorious past
and present are exposed in all their beauty. Poets have become adept in
expressing the pains and passions of the people. They cross borders to capture
realities of life. By poignantly expressing the difficulties of the
marginalised, poets give voice to the voiceless.
Even
after decades of powerful poetic rendition and reception, it is lugubrious to
accept the fact that this genre is still over looked. Only early poets and
popular ones are acclaimed. Budding poets and not-so-popular ones like O.P.
Bhatnagar, I.K.Sharma, Maha Nand Sharma, Krishna Srinivas, and many such poets
are not recognised by people though most of them have significantly contributed
to Indian poetry in English. Women poets are pushed to the margin except for a
few fortunate poets like Sarojini Naidu, Kamala Das, Sujatha Bhatt and Mamta
kalia to mention a few, who made their voice heard in spite of all obstacles.
Dalit literature is an
emerging category in Indian writing. The contributors have braved all hardships
and have put their works in the forefront. The Dalits were underestimated and
looked down upon for ages but through perseverance they were able to withstand
the stones hurled at them. Now they have created an identity for themselves and
have also captured a space for them in Indian English literature. Some
non-Dailt writers have also come forward to represent the cause of the Dalits.
In the early stages of
Indian writing in English, when men expressed the problems of women, it was
argued that it will be more appropriate and genuine if women express their
problems, as it will have a personal touch which can make works more authentic.
When the non-Dalits wrote about the Dalits, the same argument came up and this
encouraged the Dalits to take their pen to fight for their cause. Dalits
writers began writing in the 1950s. They wrote short stories, novels and drama
and there was considerable flow of Dalit literary writing in the 1960s.
In the early days of the post-Independence
era, Dalits were treated like sub humans. Though their status has risen
considerably in the recent past, the pain caused by the stings of inhuman
treatment remains deep within and the discrimination has not been completely
done away with. The Dalit writers express the social reality of appalling caste
oppression, untouchability and poverty through their writings. Their passionate
depiction of crude society has touched the hearts of many a man around the
world.
The first modern Dalit
fiction was written by P.Sivakamy and writers like Bhama, Abimaani Poomani,
Sukirtharani, Prathibha Jayachandran,Chanakya, Dharman, Yazhan Adhi are notable
Dalit writers. These writers have made Dalit writing a distinct part of Indian
Literature. Through their works they express their inexpressible and
unfathomable bitter experience and feelings which are worth noticing.
Dalit
literature is often compared with African-American literature as they share a
common fate. Bitterness and agony are the trademarks of their writings. They
raise their voices of protest against all forms of exploitation through their writings.
Writing is their revenge. Early Dalit writings were largely in Hindi, Marathi,
Kannada and Tamil but very recently they have shifted to English. Some of their
works in vernacular languages have also been translated into English.
A
woman in a Dalit community is a “Dalit among the Dalits” (). In spite of being
far more sidelined than men, Dalit women have also contributed sufficiently to
Dalit literature. One such young, energetic and rebellious young woman is Meena
Kandasamy. She is a poet, activist and translator. Her works focus on caste
oppression and women’s issues. She has published two collections of poems – Touch (2006) and Ms Militancy (2010). She has also authored a number of essays on
social and political issues. Her poems “Mascara” and “My Lover Speaks of Rape”
have won first prizes in All India Poetry competitions. Her poems have appeared
in a number of national and international journals. Presently she is writing
her first novel The Gypsy Goddess.
She
addresses multi-faceted problems in her community and champions women’s rights
through her multilayered poems and essays. According to her, poetry heals her
and helps in channelising her anger. Her poems are revolutionary and there is
fire in her words. She is bold and assertive and expresses her ideas without
fear or favour. She expresses strong will power and determination. She is
certainly not an advocator of Gandhian non-violence. For her freedom is only
through rebellion. One can feel her anger and sarcasm while reading her poems.
This paper aims
to bring to light the psychological pressures and emotional trauma in Meena
Kandasamy’s select poems and her attempts to empower women by granting them
with a ‘new identity’ in a society that continues to segregate women and thwarts
all her endeavours. A few of her poems from
her second collection Ms Militancy – “Backstreet Girls”, “Dead Women Walking”, “Firewalkers”,
“Moon-gazers”, “Ms Militancy”, “One Eyed” and “Princess-in-Exile” - are discussed and analysed.
“Backstreet Girls” is a poem
addressed to the moral police. This poem breaks all shackles and grants
independence to women. They don’t have to play by the rules anymore. Like men,
they too can act according to their will. They can choose their own roles – ‘sluts,
gluttons, bitches, witches and shrews’. No more can they be kept within the
iron bars of culture and tradition. No Manu can limit or contain them. Men can
no longer choose them for wives but they are the ones who pick up and “strip
random men”. The poem ends with a note. “We (women) are not the ones you can
sentence for life.” (14) This is the freedom Meena Kandasamy wants to achieve
for her people.
In “Dead Woman Walking” she
approaches the story of Karaikal Ammayar, a mythological figure who was deeply
in love with her lord shiva, in different perspective. To Meena Kandasamy,
Karaikal Ammayar is not someone who deserted her husband to be with her lord
but she was a wretched woman deserted by her husband. She was once a beautiful
wife of a merchant but he became doubtful of his wife’s talent in providing
delicious meals. Instead of understanding “the magic of my (her) multiplying
love” (17) he took her to be a mystic and left her to marry “a fresh and
formless wife”. She became a dead woman but this story kept on throbbing in her
heart. Her pain is aptly captured in the line,
“I wept in vain,
i wailed, i walked on my head, i went to god” (17)
She wept until her weeping turned into
wailing. In an effort to recover from her loss, she turned all her attention to
her god Shiva for consolation, but even that was criticised by the society.
Though some called her “mother” many considered her as a mad woman which forced
her into the “land of the living dead” (17) where she lived with “faltering
step, felted flying hair..... hollowed cheeks....bulging eyes” (17) This poem
captures the hardships and emotional stress of the downtrodden, abandoned women.
Karaikal Ammayar represents the Dali women who are sexually exploited by men.
They were forced to carry the scarlet letter of shame and blame whereas the
exploiters escape with clean hands. The poem poignantly tells us how such women
die even while they are physically alive.
‘Firewalkers’ is also a
powerful rendition of the plight of poor women who are exploited by people
belonging to upper classes. Shattering the traditional image, goddess Maari is
portrayed as an exploiter who gains pleasure from the pains of her believers. Marri
is a mania who needs blood to drench her hair and her devotees are the dream –
chasers, the firewalkers” (22) . They offer their bodies to be burnt and
whipped. This is the supplication, “the pain is the prayer” which along with
blood appeases the goddess. Maari in “firewalkers” is none other than the
inhuman oppressors of the dalits.
“Moon-gazers”
depicts the unquestionable superiority of non-dalits over the dalits. The poet
brings in a classroom situation in which the teacher talks about a bird that
watches the moon throughout the night. When a girl questions what the bird does
on new moon days, she is seen as impudent and is mocked at. She sinks into the
teacher’s limitless eyes without ever reaching the surface. This is the common
fate shared by all the dalits. They are forced to oblige without any question
and made to lead a passive life devoid of any sign of existence.
“Ms
Militancy”, the title poem of this volume, is based on Kannaki, the heroine of
the Tamil Classic Silapathikaram. This poem is a call to women to be
revolutionary and courageous like the heroine herself. Though Kannaki is deeply
affected by her husband’s betrayal, she readily accepts him when he returns from
his dancer mistress’s lap. She supports him by giving him one of her anklets to
start a fresh life. The ‘Kannaki’ in the first part of this poem is very
devoted and loyal when judged by the standards of Tamil culture, which
advocates patriarchal dominance. But the rage she displays at the death of her
husband shows that she is not a passive, submissive Kannaki but a bold,
assertive revolutionist. She gains the justice which her husband, a patriarchal
figure failed to get. Justice alone can’t suffice her anger and she burns down
the entire city by
“...
a bomb
of
her left breast...” (36)
She comes out of her cocoon when
her situation demands it. Such a militant woman is the woman Meena Kandasamy’s
dreams of. Such is her faith in herself and in women. By coming to the
forefront and voicing her protest at a very young age, she has set herself as a
model for downtrodden, subjugated women.
In
her short poem “One-eyed”, she gives an example of the various atrocities
committed against the Dalit women. The pot, the glass and the water she the
thirst of a person but he the teacher, the doctor, the school and the press see
the violation of rules and are indifferent to the needs of people. Human beings
fail to understand their fellow beings what the inanimate things where able to
comprehend. Dhanam’s world was “torn in half” (41) when she tasted he forbidden
water at the cost of her left eye.
“Princess
in Exile” is about Sita, the chaste queen. Meena Kandasamy’s Sita is no longer
a chaste woman. She doesn’t want women to follow the rules laid by the
patriarchal society. Her Sita has perfected the art of vanishing from the day
she was kidnapped. Her constant “walkout” is her way of taking revenge on her
husband who was not careful enough to protect her or even to rescue her within
a short time span.
The
poet herself has a militant spirit. She takes up myths and characters from
Tamil Classics and demythifies them by providing them with an identity entirely
different from their original one. As a woman, she has forced her way to the
forefront to represent her community through her powerful language and
rebellious writing. Her voice is like the voice of her African-American
counterparts. It is powerful enough to break boundaries and shatter the walls
of Jericho. Her art is not “art for art’s sake”; it is “art for life’s sake.”
Most of her themes and her choice of diction are taboos in the cultural context
of India. This can be justified because crude realities cannot be explained in
sophisticated forms and language. As Ranjit Hoskote puts it in his review of
“Ms Miltiancy” in The Biblio, “There is considerable current of surprise and
elusiveness that does battle with the strain of predictability in Kandasamy’s
poetry; even when she rehearses a well established choreography of feminist
self-assertion, she does so with a sharp eye for detail, a grasp of worldly
insight, and an appetite for phrasal shape-shifting.” Anyone who reads her
poems can firmly predict that this woman will definitely do her best to uplift
the status of her community and of women. Her poems testimony her stance in
Dalit literature and in Indian English Literature.
Works Cited
Primary Source:
Kandasamy, Meena. Ms Militancy. New Delhi: Navayanya
Publishing, 2010.
Secondary Sources:
Rangan, Baradwaj. “The Politics of
Poetry”. The Hindu. Metroplus. April 28,2011.
Kandasamy,
Meena. “let-there-be-light”. Web. Date. http://www.meenakandasamy.com/mk/Praise.html
“Meena
Kandasamy”. http://meenu.wordpress.com/
(Presented in the National Seminar on Indian Writing in English organised by the Research Department of English, VHNSN College, Virudhunagar on 14th March, 2012)